The archives of the articles, reviews, interviews and other ramblings written by Sarah E. Jahier (aka Fatally Yours).

Tuesday, September 8, 2009

The Cat O' Nine Tails (1971)

Few who read this site need an introduction to maestro Dario Argento,
the Italian writer/director who is famous for his distinctive style and
crafting some of the finest giallo films ever committed to celluloid,
such as Bird with the Crystal Plumage, Deep Red, Suspira
and so on. Some people love his films while others hate them, but
neither can deny the impact Argento has made on the film scene. Though The Cat O’ Nine Tails (Il Gatto a Nove Code)
may be considered by some as one of Argento’s “lesser” works, I believe
that it is one of Argento’s most straightforward and easily accessible
films…but still boasts Argento’s signature style.

The film tells the tale of blind Franco Arno (Karl Malden), who one
night walking with his young niece Lori (Cinzia De Carolis) hears two
men arguing. Arno asks Lori to describe the men as one of them is
speaking about blackmail. The next morning, it is discovered that
someone has broken into the Terzi Institute, which is researching
criminal behavior as it correlates to genetics, and espionage is
suspected, though it appears nothing was taken. However, the man that
Arno overheard talking soon turns up dead and Arno seeks the help of
journalist Carlo Giordani (James Franciscus) to solve the case.
Meanwhile, more people connected to the Terzi Institute start turning up
dead. Can Arno and Giordani find out who the killer is…before they are
next?

Many people don’t appreciate The Cat O’ Nine Tails,
and while it doesn’t have the same flashy style of other Argento movies,
I still believe it is a fine film. Its storyline is much more linear
than most of Argento’s films and even people that gripe that his films
are “style over substance” can enjoy the straightforward whodunit story
of The Cat O’ Nine Tails.

Despite the more subtle nature of this film, it certainly isn’t
without the usual Argento pizzazz. There are lots of intriguing camera
angles and lots of fluid camera movement. It even features the killer
POV and extreme close ups of the killer’s eye that are used in other
Argento films. Though it lacks the vivid colors of some of Argento’s
other films, there are plenty of weird camera angles, constant movement
and beautiful shots to keep the viewer engaged…and there is never any
doubt that you are watching an Argento film.

The acting in the film is excellent, from Karl Malden as the blind
Arno to James Franciscus as the journalist Giordani and even Cinzia De
Carolis as the young Lori. Even the dubbing didn’t ruin the fine
performances! The actors all made us believe in them, even when it was
revealed that one of the leads may be the killer in a chilling and tense
cemetery sequence.

There isn’t much blood in the film, as the killer prefers
strangulation, but this didn’t dampen the experience at all for me.
There is one jarring sequence in which a victim is pushed in front of a
train and his body tumbles as the train’s brakes screech, but this is
the most disturbing the film gets. Despite the lack of gore, the scenes
in which the killer is stalking his or her intended victim are tense and
the attacks are sudden. It is also interesting to note that most of the
victims are male, quite a rarity in most giallo films, which was
refreshing to see.

Speaking of rarities, there is also a subtext of homosexuality
running throughout the narrative…not something you see everyday in a
‘70s giallo. Yet, it also speaks to Argento’s style and his boldness to
cover “taboo” (at least back then) subjects.

Also of note is Ennio Morricone’s jazzy score, evocative of the times
and Rome locale. It added enough punch to the proceedings and was quite
effective during exciting sequences, particularly a high speed car
chase and the thrilling scenes leading up to the finale.

My only complaint was the “reveal” of the bland killer. There are
plenty of red herrings throughout the film and you probably can’t guess
who it is just because of the numerous suspects, but even so the
surprise is a bit disappointing and the ending a bit lackluster compared
to other Argento films.

All in all, though, The Cat O’ Nine Tails is another
excellent Argento films that shouldn’t be ignored or even considered as
being inferior to his other works. It might be without his typical over
the top flair and a bit more “mainstream”, but it still delivers a taut
storyline that will keep you guessing to the end. Check out this
underrated and under-watched Argento movie!